A Pre-Grammy Conversation with Bob Clearmountain – HuffPost 2.16.12
Mike Ragogna: Bob, here at the Grammys watching over the sonics of the Bruce Springsteen segment. What are some of the things you look out for when it comes to the right mix on Bruce?
Bob Clearmountain: The thing with Bruce, and any artist like Bruce, is that the most important thing is the song, getting across the meaning and the character of the song. Bruce is almost like an actor in that he creates a character for each of his songs. He wants to make sure that the narrative of the song comes across. It’s no different here than it is with making records. There has to be no disconnect between that character you create and the narrative. Basically, that’s what I look for. The rest of it is all making it sound good and as exciting as possible. The song he’s singing at the Grammys is a very exciting song, it’s got a very strong message. It’s called “We Take Care Of Our Own.”
MR: Do you take a different approach when you’re preparing for the Grammys than you would for any other live performance?
BC: No, I don’t think it really is that much different. My biggest thing is that it has to be authentic to what Bruce does. It doesn’t matter where he is because the essence of Bruce Springsteen is the important thing. That’s the only reason I’m here. Otherwise, the people here are already extremely talented.
MR: Are you involved in any of the musical elements or tertiary preparations for the live show?
BC: Not at all, really. (laughs) I really am just the mixer. I wish I could take more credit for that, but Ron Aniello is mostly responsible for the arrangements.
MR: Right. Do you have to take into consideration the other artists’ mixes and EQs in order to make changes to your mix for the performance?
BC: No, not really. It’s really just my own desired mix. I certainly take direction from the producers and Bruce. Bruce is very hands on. He really produces his own records, you know? Luckily, here, we have the luxury of me being able to work on the mix for a few hours after the sound check. Bruce usually comes by and makes a few suggestions as well.
MR: Now, you’ve been working with Bruce on different projects for quite some time. What do you feel are the major differences between Bruce then and Bruce now?
BC: That’s a broad question, but it’s a pretty interesting one. In the last two years, I’ve mixed such a broad spectrum of his shows. I recently mixed a show from 1975 at the Hammersmith Odeon, then two weeks later, I mixed a show from Hyde Park in London a couple of years ago. It’s amazing to me that he’s not that much different. Obviously, he’s a lot younger, but he moves just as well and sings just as powerfully now as he ever did, though now, there’s a certain maturity there. His music is every bit as powerful as it was back then, and it was really powerful back then. He’s one of the most consistent artists in the world, I think. To be able to maintain that intensity, diversity, and dynamic that he has is unbelievable.
MR: Are you able to step back and look at him objectively as an artist and say why he’s become the icon he is? If so, what are some of those qualities?
BC: Absolutely. I think there are a few things that make him special. First off, I wish everyone could know him personally like I do. (laughs) The person that you think he is as a fan is exactly who he is. That’s how he’s always been to me. He’s been a great friend over the years. In fact, my mother passed away when I was working on one of his sessions. He was there and he somehow calmed me down as I was losing my mind about what had happened. I still don’t quite remember what he said. He’s a brilliant person and the way he uses words is almost beyond human comprehension. He’s also the most amazing storyteller. Sometimes, it even gets to the point where we’re wasting time because he’s telling us an amazing story. He’s such an entertaining person.
MR: Do you have a favorite Bruce story from your time working with him?
BC: My favorite is actually the story of him helping me after my mother’s passing. I mean, there are stories that he’s told me that it would be a crime for me to try to repeat. (laughs) It really would.
MR: Fair enough. (laughs) You mentioned that you were working on mixing recordings from both the ’70s and from a more recent show. Do you mix these records with the intention of making them sound era specific?
BC: Yeah, I think so. There was a much different sound and vibe in the ’70s. The whole style is quite a bit different. It’s hard to say what was different specifically, but there certainly is a difference in feel between the two. It was more of a dry and basic sound back in the ’70s and nowadays it’s a bit larger.
MR: Bob, this interview is not only going to be for The Huffington Post, but it also will air on a solar-powered station. Are you a fan of solar power?
BC: I am, actually. I have 72 solar panels on the roof of my house. My studio is in the basement. My wife owns and runs Apogee Electronics–they make digital converters. They use 96 panels to power the office space.
MR: It’s very interesting because although solar power seems to be the most obvious choice for energy conservation, it’s so expensive for people who want to change to solar energy.
BC: That’s true, but the prices are coming down. It’s a lot less expensive now than it used to be and there are government subsidies now to help provide people with the option. It can be done affordably, and it ends up paying for itself in four or five years. My system is just making money now. (laughs)
MR: Well, Bob, it was great talking to you today and congratulations to you, Bruce, and all of the others on a fantastic opening to The Grammys.
BC: Thank you very much, Mike.
Transcribed by Evan Martin